Esthétique et politique dans le théâtre de Sartre
Institution:
Lyon 3Disciplines:
Directors:
Abstract EN:
Our study's object has been the role of art and politics in the man's liberation and his relationship with others : to achieve this target, we hawe compared sartre's positions xith nietzsche and hegel's ones art errabiles man as authentic realization of his freedem, but, it meets its limits in the impossibility foor the artist to hawe equal and reciprocol relationships with others out side his work of art kean, a play written by alexandre dumas father, and adapted by sartre, reveals these limits as well as the appropriation of the theatre and of the artists by the midadle -clons. Politics proves to be onather way to man's liberation : it errables him to affirm its freedom by the revolt against situations of oppression. Talking of this, sartre sets up a distinction between the political leader and the other members of the group : theoreticolly, he's condemming the first role but, in effect, which is showed in the plays, he's defending it. Trough the plays we hawe studied, we have tried to understand the relationship between the leader and the members of the group : bariona, les mouches, l'engrenage, et les mains sales show the solidarity of sartre for oppressed people. But every one facesits own situation : the oppressed one must affirm his freedom by revolting himself and nobady cando it for him; in the opposite, if the gives in he refuses the human being which exists inside himself and he is accomplice of his oppression. . . The leader is the one who expressed this revolt when wanting to modify oppressing social conditions, but he must assume his solitude and play his role. Every one is responsible of his situation: if there is a leader, the reason is that others hawe resigned their active role inside the group. So, sartre is defending the leader in so for as he affirms his freedam, and his- critis concern more people who stay passive and sulmissive.
Abstract FR:
L'objet de notre etude a ete le role de l'art et de la politique dans la liberation de l'homme et dans ses relations avec autrui; dans ce but nous avons compare la position de sartre avec celles de nietzsche et de hegel. L'art permet a l'homme une realisation authentique de sa liberte, mais elle rencontre ses limites dans l'impossibilite pour l'artiste d'avoir des relations egales et reciproques avec les autres en dehors de son oeuvre. Kean piece d'alexandre dumas, pere, adaptee par sartre, revele ces limites, de meme que l'appropriation du theatre et des artistes par la bourgeoisie. La politique s'avere etre un autre chemin pour la liberation de l'homme : elle lui permet d'affirmer sa liberte par la revolte contre des situations d'oppression. A ce propos, sartre etablit une distinction entre le chef politique et les membres du groupe : il condamne theoriquement le role des premiers, mais, dans la pratique, illustree par les pieces, il le defend. Nous avons essaye de comprendre les rapports du chef avec les membres du groupe a travers les pieces analysees: bariona, les mouches, l'engrenage et les mains sales, montrent la solidarite de sartre envers les opprimes. Mais chacun est mis en face de sa situation : l'opprime a le devoir d'affirmer sa liberte par la revolte et personne ne peut le faire a sa place; si, au contraire, il se soumet, il refuse l'humain en lui et se rend complice de son oppression. . . Le chef est celui qui exprime cette revolte, en voulant modifier les conditions sociales opprimantes, mais il doit assumer sa solitude en remplissant son role. Chacun est seul responsable de sa situation : s'il y a un chef, c'est que les autres ont demissionne de leur role actif au sein du groupe. Le chef est donc defendu par sartre dans la mesure ou il affirme sa liberte, et la critique de celui-ci concerne plus les masses qui restent passives, soumises.